WNMD 2025 · CONCERT 2
Orchestral Mysteries / Mistérios Orquestrais
30-05-2025 · 21h00
Centro Cultural de Belém – Grande Auditório
Lisbon
Bilheteira · Ticket Office
Pedro Neves · © Perseu Mandillo
LISBON METROPOLITAN ORCHESTRA
ORQUESTRA METROPOLITANA DE LISBOA
Pedro Neves · conductor
Camila Mandillo · soprano
CLAUDE VIVIER (Canada, 1948–1983)
Lonely Child (1980), 17’
JINWOOK JUNG (South Korea, 1994) YCA
Unerasing (2018), 10’
ISCM Wallonia-Brussels Section
JOÃO MADUREIRA (Portugal, 1971)
Greeting (2010), 8’
SONIA BO (Italy, 1960)
Variazioni di luce (2022), 11’
Individual submission
GYÖRGY LIGETI (Hungary, 1923-2006)
Mysteries of the Macabre (1996), 9’
YCA · ISCM Young Composers Award candidate
PROGRAMME NOTES
CLAUDE VIVIER (Canada, 1948–1983)
Lonely Child (1980), for soprano and orchestra
— [Programme notes available soon]
GYÖRGY LIGETI (Hungary, 1923-2006)
Mysteries of the Macabre (1996), for soprano and orchestra
— [Programme notes available soon]
JINWOOK JUNG (South Korea, 1994) YCA
Unerasing (2018), for orchestra
ISCM Wallonia-Brussels Section
— For the purpose of nationalism, many countries and cultures in the modern world try to “erase” the negative images of their colonialism from history books and media. Through this work, I try to bring back poetically and “un-erase” the shame that each society tries to hide and lie. In the piece, my compositional purpose is not only to embody the spatial and temporal perspective based on colour but also to try to convey the message hidden in the shadows indirectly.
JOÃO MADUREIRA (Portugal, 1971)
Greeting (2010), for orchestra
— [Programme notes available soon]
SONIA BO (Italy, 1960)
Variazioni di luce (2022), for orchestra
Individual submission
— The I Pomeriggi Musicali orchestra in Milan asked me to write a piece with a very famous theme. I chose the first theme of the Symphony No. 40 by Mozart. I decided not to use it as a theme for variations but to quote it at some points, using very different instrumentation and cutting it to reduce it till the starting cell. The other musical sections that prepare or connect the quotations are all constructed upon melodic lines of the symphony's first movement. The piece is also connected to the theme of the ISCM festival: as water is one of the most important sources of human beings, masterpieces of the past still make our musical work grow and develop. Our thirst for music research can find great support and power in a deep reflection on an evergreen past.